Because of a few minor cuts here and there, this isn't the smoothest recording but the cassette generation in the lineage seemingly doesn't have any negative effect on the overall sound. It's pretty sweet throughout.

The show itself is a very nice example of when the boys (and girl) went out and played an essentially flawless show. I really find it impossible to pick a highlight of the first set... maybe Tennessee Jed. One thing not so great to me is when Playin' winds back up from the jammy spaceland they had been in, I personally find Donna's wailing at that point to grate on my every nerve. She's not bad during Race Is On and during other moments when her harmonies I find pleasing. But that spot in PITB: oi. Not nice.

The second set features a smokin' Greatest Story and He's Gone through the end of the set is just magnificent: the Grateful Dead at some of its best in '73! Listen closely for some of the Close Encounters of the Third Kind theme. Hmmm, I think John Williams ripped this off from Jerry and not the other way around! One more interesting note -- I Know You Rider is played without China Cat Sunflower: first time since 11/8/70. A rarity indeed.

Once upon a time, the meat of Set 2 was played on The Grateful Dead Hour and that's all that existed for this show. Here's the Compendium review for that chunk o' music:

Here we have a wide variety of musical styles that segue in and out of each other effortlessly. This is one of those shows where is seems like the band must have practiced this sequence for weeks; it just sounds that slick. But we all know better . . .

It starts out with a long, relaxed "He's Gone," featuring some playful, nearly goofy vocal harmonies by Lesh at the end. After sliding into the shuffle mode with a solid take on "Truckin'," the Dead unwind into the blues feel of a short "Nobody's Fault" instrumental. Billy solos for a few minutes before they all charge into the "Other One" chords. But before any singing occurs, Keith comes up with an irresistible groove to change the tempo; Garcia takes note of it, and so off they go into a fired-up, jazzy jam. This soon melts into a very slow jam with just Garcia, Lesh, and Billy. Garcia, as if recalling two sudden appointments he has to be at, suddenly starts playing both the "Other One" and the "Spanish Jam" themes simultaneously. The band soon opts for the latter, playing it short but brisk and rather unusual-sounding. This, of course, flows right back into "The Other One," where they sing verse one. In keeping with the program, they all bail out of this and dissolve into a drumless space that includes: Garcia doing his hiccup chops (not a "Tiger," though); Lesh dropping potentially fatal, precisely timed bombs; Weir's scraping, scab-pickin' feedback; and Keith playing what sounds like a harpsichord--though he may be strumming the inside of the piano strings a la Henry Cowell. Garcia switches to his wah-wah pedal and begins to play a vaguely familiar melody . . . until Lesh interrupts it all with a note of finality. Billy returns and immediately lays down some fresh jazz rolls as the band cruises joyfully into a "Feelin' Groovy Jam." As was the norm for this period, the Dead take this jam right into an inspired "Rider" to end a fascinating fifty-minute performance.

Used to do the Archive until the discussions got lame and then the stream only thing, used to do Speeding arrow and WoW did i fill up my Jer Collection, Now thanks to your blog I am dl alot of my favorites I hadn't had the chance prior, it is a shame no one comments, but I am and have to say a BIG THANKS for your kind efforts bringing the tunes to the massess, SP

What a fantastic show. I've really been enjoying this one. But then, what's not to love about a He's Gone > Truckin' > Jam > Drums > Other One > Spanish Jam > I Know You Rider...?!..not to mention a screamin' Greatest Story...fantastic show all around.